 The Clarinet BBoard
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Author: Hank Lehrer
Date: 2007-07-27 12:19
Hi Everyone,
I had started a thread asking about using using Buffet and LeBlanc barrels on my NOS Yamaha Custom CS and it seems that the topic has evolved into an interesting one but begging for a separate thread.
Here's where we were:
http://test.woodwind.org/clarinet/BBoard/read.html?f=1&i=251128&t=251128
I am an enthusiastic user of Yamaha saxes and have now moved the CS mentioned above ahead of my R13, Series 9*, and L200 in the stable. So, I'd like to ask "Why Do So Few People Play Yamaha Pro Clarinets?" Your insights on your playing experience would be appreciated (several people have already commented on in the thread above).
HRL
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Author: Chris P
Date: 2007-07-27 12:33
I think Yamaha could do with setting their clarinets up much better, with due respect they're well built, but the finishing and choice of materials used in finishing could be much better as well as the spring tension which is set too firm.
I know if I bought a brand new CSG I'd have it all in pieces and then refinish it to how I'd like it to be.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: Hank Lehrer
Date: 2007-07-27 14:05
Chris P.,
What are your playing impressions of Yamaha clarinets?
HRL
Post Edited (2007-07-27 14:05)
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Author: Bob Phillips
Date: 2007-07-27 15:00
At ClarinetFest, I (of course) walked around the manufacturer's displays poking my mouthpiece into lots and lots of clarinets. I have a 2001 Buffet RC that I've been playing for over a year.
It's tough to make much sense of an instrument in the crowded, noisy environment of the trade show, but I would expect the demonstrator horns to have been carefully selected and set up.
Buffet and Leblanc top models felt equal and comfortable, as did the Orsi & Weirs. The O&R European and American "tapers" were quite distinguishable.
The Yamahas (and the Rossis) didn't feel good to me at all. It could be the shock of playing something so different from my usual instrument, of course.
I also found the "student grade" Andino clarinets --developed in cooperation with Rossi, and the Forte C to be excellent. The Forte C had the feel of a particularly nice Orsi & Weir cocobollo Bb with the European bore.
On the other hand, I've scrounged a student grade Yamaha plastic clarinet from a friend while my Buffet was in the shop. I've also borrowed a Yamaha A for a short time. They were both very, very good clarinets --making me wonder about my experience at ClarinetFest.
Anyhow, my quick look placed the Yamahas well down my shopping list for my upcoming A clarinet.
Bob Phillips
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Author: rtmyth
Date: 2007-07-27 15:06
Saw one a TBA. So beautiful I ordered one. But finish of bore, under 3X magnification was not satisfactory. Sent it back to dealer. Does not prove anything since very few clarinets of any make and model are of artist quality. Try many, maybe find one acceptable. If so, buy.
richard smith
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Author: David Spiegelthal ★2017
Date: 2007-07-27 15:08
Very simple, Dr. Hank -- they don't have the Buffet Crampon logo on them.
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Author: jez
Date: 2007-07-27 15:38
I guess it depends where you are.
In my area (NW England) there are 3 full-time pro orchestras, so 9 players of whom 4 use Yamaha. Not a bad representation considering the competition.
jez
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Author: Hank Lehrer
Date: 2007-07-27 15:51
Interesting comments (pretty funny, DS).
However, I must admit I have never played nor never will play in an orchestra. I'm a wind ensemble, chamber music, show, and jazz guy. So, the Custom CS seems to fit my bill very nicely (and the bill - pun intended - was much less).
So I wonder if one is a still a casually working professional musician like myself, is securing an artist-quality instrument the nirvana or "over-kill?" Although I have terrific golf clubs and equipment, my scores seems to be staying about the same :-).
HRL
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Author: Synonymous Botch
Date: 2007-07-27 16:03
The -SEv were monsters - smooth, silky response and great dynamic control.
There was some sharpness to the lowest two notes that I liked, and the highest notes (the ones I could play, at least) were spot on with my tuner.
From what I gather, the v suffix indicated a hand assembly and adjustment by one tech, from start to finish. If you've ever handled Japanese hand tools, it was that same level of care.
I still prefer my Ridenour in hard rubber, but that's down to preference.
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Author: Chris P
Date: 2007-07-27 17:24
My playing impressions of Yamaha pro clarinets are that they are very consistant, have good tuning (having a low register that isn't sharp in comparison to the upper register) and response, but I feel they're a bit resistant and somewhat lacking the character a Selmer or Leblanc has, but they aren't Selmers or Leblancs - they're Yamahas.
But I've only ever played 'box fresh' pro Yamaha clarinets and never lived with them to see if they develop over time.
I'm not against Yamaha products as I do own a plastic Yamaha YCL-24 for outdoor/marching use, and all my saxes are Yamahas, as well as my flute and piccolo which I enjoy playing - as well as a Yamaha Oehler system clarinet which I've had from new. It's not a Wurlitzer and I don't expect it to be, but it's near enough and does what an Oehler system should do.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
Post Edited (2007-07-27 19:51)
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Author: bufclar
Date: 2007-07-27 17:47
The last time I tried them (about 6 months ago) I was very impressed. The next horns I buy will be Yamaha for sure. The CSG'S and the SEV Custom's are fantastic instruments. Sure you have try a group to find the ones you want but thats true with any instrument.
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Author: D Dow
Date: 2007-07-27 18:13
I know of a number of very fine clarinetists who have switched over to Yamaha and sound great...
I also think there are far too many myths out there about different brands..the new Yamaha instruments are superb and while maybe not for all they certainly are well made and tune nicely...
this list includes people who also have been on Yamaha for a long time. The stable is pretty impressive..
David Shifrin plays YSG clarinets
Joquin Valdepenas(Toronto Symphony)
Loren Kitt(Yam artist for a long time)
Bill Jackson...who is a truly remarkable players(YSG player)
John Bruce Yeh of the Chicago Symphony(been on Yamaha quite a while I believe)
Buddy DeFranco has played Yamaha a long time...
David Niethamer..
I think it is time to bust the bubble out there about Yamaha products..
David Dow
Post Edited (2007-07-27 18:14)
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Author: katie_netie
Date: 2007-07-27 18:17
So true. People are starting to open up to the idea that these horns might actually be quite good, but there is definitely some resistance.
I have noticed that the horns mature really well too. I've had my SEV for about 3 and a half years (if I can count right...) and it has warmed up a lot and it seems that it has grown along with me...
Katie
Yamaha Custom SEV, Vandoren M13, Vandoren Optimum Ligature
Buffet E11 Eb Clarinet, Vandoren leather ligature and B44 mouthpiece
Going into second year university for music
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Author: Ed
Date: 2007-07-27 19:46
Yamahas are great instruments. It has been a while since I played them, but the ones that I played were set up very well. I think there is a certain amount of brand loyalty that leads to people not playing many of the alternate choices out there.
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Author: Fred
Date: 2007-07-27 20:15
When did the Yamaha clarinets really develop into nice instruments? Does it go as far back as the YCL-62 or were greater strides made later? They've changed models quite a bit recently, haven't they? Which models have gotten the greatest acclaim?
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Author: bufclar
Date: 2007-07-27 20:24
"Which models have gotten the greatest acclaim?"
The new CSG is getting great reviews and the SEV's are fantastic. I remember trying Yamahas back in the mid to late 90's and thought they were junk so the strides they have made are recent I believe. I know John Yeh gives them a lot of input on the instruments and I'm sure other players do as well so this might be part of the reason for the increase in quality and playability.
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Author: sherman
Date: 2007-07-27 22:15
While I have not read each posting concerning Yamaha instruments, one thing is quite clear concerning these rather lovely instruments. Having played them since my first one, a Yamaha 64, called a student horn, I used it as a professional with excellent results. I then played successively a set of 72s, and 82m (the A was called an 85 as I recall) and I have owned a couple of Allegros which I thought played beautifully. They are great horns, but one thing, as I started to say, is clear: Yamaha historically speaking has not shopped for people to play their horns. The biggest developer in this manner used to be Leblanc who openly courted many musicians, with incidentally, very few takers. Even though a fine instrument, this was an instrument seemingly reviled by the professional clarinetist, for the most part. Then of course, there are the biggest sellers, and the biggest fishers of clarinetists, Buffet. Selmer held its own with the more popular-type musician, though the Boston Symphony clarinet section, an all-selmer group sounded the best, in my humble opinion. I think that is the answer to the question of the "lack" of Yamahistas. There are many who play Yamaha, and the horn is the most consistant for intonation that is made by Yamaha in Japan.
So, now I have spoken and probably said too much, but for whatever its worth that is my view.( Many of the above comments are made in a historical context, prior to the selling of Selmer and Leblanc , and for that matter Buffet to several different distributors).
That has all changed with Ridenours work while at Leblanc and the emergence of the Opus,etc.. The old photos of Woody Herman and Stanley Drucker and everybody else playing so many instruments are done, it seems.
Sherman Friedland
Post Edited (2007-07-28 00:16)
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Author: Ed
Date: 2007-07-28 00:02
I played some 72's a number of years back that were great instruments. Fine sound, very even, superb intonation. Other models that I have played in more recent years were also top notch- SEV, CS, etc. I have not yet tried the newest model.
There are a lot of great instruments out there, from the big manufacturers to custom makers. They don't necessarily play like Buffet, which is not necessarily bad. It is important however, to play the individual instrument and evaluate it on its own merits. I recently played some Selmer Signatures, Recitals and some of the new Leblancs. All were good---different, but good.
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Author: David Spiegelthal ★2017
Date: 2007-07-28 00:04
And most importantly, which pro clarinettists will endorse those wonderful "First Act" and "Band Now" instruments (destined to become classics)?
Any takers?
Come on, you guys!
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Author: Hank Lehrer
Date: 2007-07-28 03:07
Sherman,
I know of your background with Mazzeo and the Selmer connection and I value your comments on the Yamahas. They are pretty amazing instruments and wonderful values as well.
HRL
DS, you are right that the First Act and Band Now will be classics!
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Author: EuGeneSee
Date: 2007-07-28 03:24
Hank: Is it true that the First Act and Band Now will become classics for the same reasons as that classic auto, the Tatra Djet? Eu
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Author: J. J.
Date: 2007-07-28 03:30
I have been to the Yamaha factory in Grand Rapids to assist a professional in picking out a new CSG. They must have had 10 or 12 ready to play and pick from in the custom shop. I think very little work was done to them out of the box, yet they were set up as well as any professional horn I've seen. The keywork was in perfect adjustment on every instrument and they all played extremely well. It was a greatest showing of conistency and professional standards that I've seen from any company.
The reason fewer people play them is in name alone. The wood doesn't always look as nice as some of the other brands, but I can't imagine that being a determining factor, since they play remarkably in tune and the new CSGs have a depth to them that matches any R13 bore. They are truly underappreciated instruments.
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Author: David Niethamer
Date: 2007-07-28 04:34
I played Yamaha 72s in the Richmond Symphony for 17 years, until I retired in 2002. I still have my original 72cx A clarinet (1985) - a beautiful instrument. I currently have two 72cs Bb clarinets circa 1988 which still play well, although I have put a Backun bell on the one I play the most.
I bought my first ones, and continued to play them, because they had good intonation and solid keywork, and good setup "out of the box". I never looked back.
David
niethamer@aol.com
http://members.aol.com/dbnclar1/index.html
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Author: Gordon (NZ)
Date: 2007-07-28 09:10
1. A capable local player raved about Yamahas. Then he was payed commission for sales of another brand. He barely mentioned Yamaha again.
2. Could the syndrome have a little to do with, "Yamaha make student instruments... a maker who dos not make student instruments MUST be superior," even if just a little, subconsciously?
BTW, in my experience they are as well set up as any other brand.
And by contrast, Buffet often has an extremely sluggish F#/C# spring (too short for its diameter), corks that tend to fall off, and pads that start progressively splitting within only 18 months - 2 years. (Decades ago, Buffet pads were the ultimate in membrane pads, IMO)
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Author: Ed
Date: 2007-07-28 11:09
As to set up out of the box, over the years I have played a number of Yamahas that were fresh out of the box (I watched the store open the packing) and they played beautifully. So much so that I felt that I could probably walk out and play a gig on the horn as is. In contrast, I have gone in to a number of places over the years to try new Buffets and without extensive set up, they were unplayable.
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Author: Chris P
Date: 2007-07-28 11:19
Although a greater percentage of Yamahas will play straight from the box compared to a lot of other makes, I feel they could lighten up and balance the springing much better back at the factory to make the action feel much better under the fingers.
There's no reason why they can't cork pad the top joints on the CSG or use felt on open-standing keys (eg. the lower rings) instead of cork to silence the action.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: Ed
Date: 2007-07-28 12:47
Chris P- Good points. I agree with you on the felt. Years ago, when I had a Yamaha for a while, one of the first things I did was to have that cork changed.
I wonder if they set the springs stronger to keep pads seating for shipping, or do they really like them that way?
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Author: skygardener
Date: 2007-07-28 14:37
In my experience with new horns and repairs- stiff springs are evidence of hiding something; especially poor pad seating, and key play. Good setup, IMO, is light, quick, silent, supple action, good pad seating, etc.
Stiff springs hide poor adjustments in all these aspects. Yamaha has stiff springs- I say no more about that.
As far as sound, I find them to be very consistant, but lacking the overtones of a good Buffet or Selmer- the ring. Overtone excercises have been amaizingly difficult for me on Yamahas, but I never have trouble with the other 'big' names.
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Author: Ed
Date: 2007-07-28 15:08
My experience a number of years ago (15 or so) as I mentioned I played some where the pads and key action were beautiful right out of the box, even when I had a tech check them over. Maybe their set up has changed in recent years.
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Author: Jack Kissinger
Date: 2007-07-28 16:14
Warning: Total speculation without a shred of evidence (well, maybe one tiny shred) follows.
I wonder if one of the reasons fewer people play professional Yamaha clarinets is simply there are fewer professional Yamahas out there to be played. And the reason there are relatively few is that this market isn't Yamaha's primary target. These days, I suspect that there is alot more money to be made in the student model market than the professional model market. (How many new professional clarinets were sold in New York last year? How many student clarinets?) The question is, how to grab a significant market share. And I think there is more than one approach.
I think one could make a case that Buffet's marketing strategy is a top-down approach, based on the principle that dominance in the professional market will lead to dominance in the student market. That they have had a comparative advantage in the professional market for years is undoubtedly a factor. The reasoning would seem to be that a high percentage of top-tier professionals playing Buffet will lead to a high degree of brand recognition. Also, professionals (at all levels) who play Buffet will tend to recommend Buffet to their students. The trickle-down should lead to significant sales of student instruments. This strategy requires a fairly large annual production of professional clarinets but Buffet has the capacity.
On the other hand, I think one could make the case that Yamaha's strategy, at least in the past and at least where clarinets are concerned, has been to target the student market directly and put its focus there. Note that Yamaha student flutes, oboes, saxophones and clarinets are all highly regarded -- I think it's the quality/price ratio I mentioned in a this thread's sibling. But it may also be that Yamaha puts considerably more emphasis on promoting their combined student line (including brass, and percussion) than on their professional instruments. Also, Yamaha makes professional clarinets, and IMO very good ones, but not in the quantity required for the top-down strategy Buffet seems to follow. (Demand for Yamaha professional clarinets undoubtedly has something to do with this. But how much effort does Yamaha actually extend to create this demand?) And here is my one shred of evidence (which may be obsolete by now). Look at the serial numbers of Yamaha professional clarinets. Perhaps they have reached double digits by now. I don't know. I also don't know their numbering system. I've never seen one much above 003000, though, as I say, I haven't seen any that were manufactured in the last several years. Buffet, on the other hand, manufactured over 12,000 in 2005 (assuming there are no significant gaps in the serial number sequence for that year).
Smaller numbers manufactured translates into smaller numbers available in the music stores. When a high-school student is ready for a professional instrument and goes to the local music store to buy one, how likely is it that s/he will find at least a few Buffets to try? How likely that there will be even one Yamaha? When that high school student goes to college and studies clarinet, what are the odds that s/he will switch to a different brand for an A clarinet or a replacement Bb, or even an upgrade to a higher model? (But when that student started, there's a decent chance that the store carried Yamaha student clarinets.)
If my speculation is even close to accurate, there is considerable truth behind the sardonic humor in David S.'s comment.
As far as Selmer is concerned, I can't tell what their strategy is. Selmer USA (a division of Conn-Selmer) seems pretty independent of Selmer, Paris. Though I'm sure there is a some brand-name recognition. I'll let somebody else figure them out. And Leblanc? I seem to remember someone in an older thread suggesting that their biggest problem is that they have no strategy! ![[rotate]](http://test.woodwind.org/clarinet/BBoard/smileys/smiley25.gif) S/he may be right.
Best regards,
jnk
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Author: shmuelyosef
Date: 2007-07-28 18:55
I wonder how many folks are annoyed with Yamaha's voodoo marketing...e.g. from the CSG 'stock' listings:
" The lack of a bell ring also allows for a more resonate chalumeau...." & "Hamilton plating is an alloy of gold and nickel. It's extremely resistant to wear and discoloration, and delivers a powerful tone with excellent projection...
There is enough controversy about plating vs. lacquer vs. color vs. material on saxophones, but the keywork on a clarinet affecting the tone????
Regarding springing, part of it is a Japanese thing....Yamaha and Yanagisawa saxophones both come from the factory with stiff springing, but both supply horns that (generally, but particularly in Yanagisawa's case) can be lightened easily and play very well with minimal other fussing around.
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Author: GBK
Date: 2007-07-28 19:14
shmuelyosef wrote:
> There is enough controversy about plating vs. lacquer vs. color
> vs. material on saxophones, but the keywork on a clarinet
> affecting the tone????
[ We've been down that road MANY times in the past. Let's not go there again.
Do a search in the archives under Yamaha and Hamilton plating for additional opinions. - GBK ]
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Author: Chris P
Date: 2007-07-29 02:41
I own a Yamaha Custom alto and tenor and they are very well set up, the spring tension is pretty good on the whole. I bought my 62 bari back in 1990 and put up with the heavy spring tension for a few years, then I lightened it all up - and what a difference it made!
But Yamaha have published a repair manual with all their specifications for pad diameters, thicknesses and materials as well as their recommended ventings on all their woodwinds, as well as all the spring tensions.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: Sean.Perrin
Date: 2007-07-29 21:41
I'm so used to the Buffet keywork that I feel uncomfortable playing a Yamaha... the instrument always seems brighter to me as well.
I love the sound of my Leblanc... the keys seem more similar to buffet's as far as their situation.... but they are poorly designed I think. They fall out of alignment far more. Sad, because I prefer the Leblanc sound, it's very warm.
At the end of the day though... I think buffet has just covered all of their bases and makes the best all-round clarinet.
Founder and host of the Clarineat Podcast: http://www.clarineat.com
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Author: Hank Lehrer
Date: 2007-07-29 22:52
Jack,
Warning: Total speculation without a shred of evidence also and likely to cause me to be beaten soundly and repeatedly:
I have thought long and hard about the Selmer/Leblanc/Buffet v. Yamaha question. Is there a parallel in the auto industry with BMW/Benz/Volvo v. Infiniti/Acura/Lexus here?
I have owned many European cars and several Asian autos in the past 25 years. With the Euros, all terrific autos but in some cases a bit austere but built like little tanks. In the case of the Asian autos, silky smooth, very ergonomically designed, and extremely reliable for a long period of time.
Are there some sociological/cultural issues at work here that may have an influence on the more musical question that I asked to start the thread. Do we have a sociologist among us that can tell me that: 1. I am all wet, or 2. I may have found something here worth looking at?
I have always come away after driving a Benz with the feeling that the manufacturer is saying "this is the car we want you to have" compared to the sense of "putting on a Honda or Toyota like a well fitted full-body suit."
HRL
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Author: Chris P
Date: 2007-07-29 23:31
If I could put a Honda engine in my Volvo, I would.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: David Spiegelthal ★2017
Date: 2007-07-30 01:48
I drive little-known Italian car makes and play little-known clarinet and sax brands -- so maybe Dr. Hank is onto something there with his analogy....
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Author: CJB
Date: 2007-07-30 16:44
I quite like the spring resistance on Yamhas to me it makes the keywork seem more positive to me.
As to why more people don't play them - it is a complete mystery to me.
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Author: Firebird
Date: 2007-07-31 03:10
Actually, I must admit that Yamaha instruments are good. I started off on a student Yamaha back in my high school days, and although the sound was rather bright or maybe because of my incompetency at point in time, the student clarinet is every bit as good as any made by other manufacturers like Buffet or Selmer.
Chan
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Author: gwie
Date: 2007-07-31 08:45
The CSG A clarinets I played at ClarinetFest were awesome. That and the LeBlanc Symphonie A's were the standouts in my book.
I'm going to unload my R-13 A at some point really soon here...
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Author: Gordon (NZ)
Date: 2007-07-31 10:34
I'm happy with my Yamaha 62 SII.
The odd pro player who tried it was pleasantly surprised.
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Author: Bassie
Date: 2007-07-31 12:19
I tried a Custom last year. Sounded very bright. Stable tuning, easy altissimo. Fine for piercing through an orchestra, I'd guess. But I preferred the colour in the tone of my own instrument.
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Author: SirAdamWilliams
Date: 2007-08-01 19:45
I think that the Yamaha clarinets are great, but not what I'm looking for.
Honestly, I think the reason that so few people play them is because they aren't as established as some of the other (Buffet, Selmer, LeBlanc) brands.
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Author: denner22
Date: 2007-08-07 11:35
I have played most of the LeBlanc, Buffet and Yamaha clarinet models manufactured over the last 30 years. I have posted on this before
I think that with the Yamaha CS, SEV and CSG models, I have found very fine instruments. I do like to set them up a little differently from they way they come from the factory - springs and pads etc, however they do work right out of the case extremely well.
They have impeccable tuning and response. They do seem to improve in terms of warmth over a year or two - and as for the Buffet "ring".....nobody has yet managed to convince me that I can't get the same "ring:" out of virtually any instrument if I want to....
We are very lucky in our choice of such good quality cheap top professional instruments. They are all good....Buffet, Leblanc, Selmer, Yamaha..and others.....
Learn to play what you own. If it is well in tune and responds well, then you can do anything with it! Spend the time with it.
David
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Author: Old Geezer
Date: 2007-08-07 15:20
Who says Yamaha Pro Clarinet sales are anemic?
I've never seen any stats (believable ones) on their sales or R-13's either. I 'd like to see some sales stats on Legacy too!
With the price increases I'll bet Buffet R-13 sales are way down.
Clarinet Redux
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Author: skygardener
Date: 2007-08-07 15:36
David- you can get a 'ring' on any horn you want? Lucky you.
I just sampled several of the top line Yamahas a few weeks ago. For me, Yamaha clarinets make me sound like I am playing Shakuhachi. I am not saying that's bad, mind you; I like Japanese music a lot (I am studying it), but I am not fond of that sound on my clarinet.
Post Edited (2007-08-07 15:38)
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Author: D Dow
Date: 2007-08-07 15:47
Maybe if you played a Shakuhachi you might sound too much like an clarinet.
David Dow
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Author: Hank Lehrer
Date: 2007-08-07 16:30
Good one, D.D.
But maybe Skygardner tried the Yamaha models that were "not suitable for export" to N. America?
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Author: skygardener
Date: 2007-08-08 02:05
I tried them in Tokyo in the main Yamaha store in Ginza, so that might be. I have neve played a new Yamaha in America- I could never find one! Once I tried an old one that was fair, considering the price.
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Author: Hank Lehrer
Date: 2007-08-08 10:24
That explains it :-).
Yes, not too many pro models "floating" around for trial. I believe that WWBW is the mother lode and Scott, the woodwind manager, is a Yamaha performer so...
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Author: skygardener
Date: 2007-08-08 15:29
Ps. about that...
The only Japanese pro players that play Yamaha (that I know of) are Yamaha sponsored artists. Most of the orch players here use Buffet, and Selmer, and a few use German clarinets of one or another make- usually Wurlitzer.
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Author: D Dow
Date: 2007-08-09 00:22
Very interesting..the Principal Bassoon of the Berlin Phil uses Yamaha instruments..also the Principal Oboe in Philadephia uses Yamaha oboes as well.. I think the Principal flute in Philadelphia uses Yamaha flutes too!!'
I guess there is always something out there for everyone!!! Not to mention all of the other clarinetists I know who use Yamaha clarinets in North America..
David Dow
Post Edited (2007-08-09 00:45)
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Author: Hank Lehrer
Date: 2007-08-09 01:54
DD,
You bring up an fascinating point without realizing it, perhaps.
With the other principals you have mentioned, the whole symphonic woodwind family is represented. While I have a very nice open-hole Buffet Symphony flute, I'd rather have a Yamaha. Is that company beginning to dominate several woodwind instrument types?
I do still play Selmer classic saxes but have begun to swing to Yamahas as backups (and I have thought about replacing my Mark VI arsenal with Yamaha Customs and pocketing the considerable change).
Is there someone on the BB than can comment as to whether the more traditional brass instruments are under assault by Yamaha.
Just some pondering.
HRL (driver of Toyota and Honda autos while living within the shadow of the Motor City)
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Author: DavidBlumberg
Date: 2007-08-09 02:14
Bil Jackson who's one of the most talented US Clarinetists out there plays Yamaha.
Personally I don't like them nearly as much as Buffet and Selmer, but everyone has their favorite.
http://www.SkypeClarinetLessons.com
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Author: J. J.
Date: 2007-08-09 02:17
Yamaha flutes and saxophones are very much in the top circle of their respective instruments.
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Author: SVClarinet09
Date: 2007-08-09 03:33
Hank, a friend of mine who graduated high school this year and made first chair all state all throughout middle school and highschool is now going to school for music at Oklahoma. Her ex boyfriend is one of my good friends and one day we were discussing trumpets as my little brother plays trumpet. She seemed to be real fond of the new Yamaha Xeno trumpets and wanted to switch over from her Reverse Leadpipe Stradivarius. Yamaha has IMO really good instruments all through out the wind family. All of our schools low brass is Yamaha along with the snares, basses, and tenors. And taking a look on the Yamaha website, they have almost 3 times more Trumpet artists than clarinet artists. The principal trumpet of the Chicago Symphony plays on Yamaha trumpets. Yamaha is also one of the few people making triple horns out there.
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Author: Hank Lehrer
Date: 2007-08-09 10:13
Interesting, Melvin. So, professional brass now - I did know about the percussion. How about strings?
Now that I realize it, I have three surround sound receivers by Yamaha (OK, it's a bit excessive) and my main sub-sat speaker with a massive and very precise sub-woofer is - drum roll - Yamaha.
I'm a value shopper (not to be confused with a cheapskate) and day and day out, I seem to get Yamaha products because they evidently IMHO represent the "most bang for the buck."
I wonder what would happen is Yamaha made televisions and autos? This balance of trade issue that is so concerning is not getting better. I do not want this thread to get too far off center but when one peels the onion on the original questions I asked, there are a lot of economic and sociological twists that quickly become evident.
HRL
PS And then, in my academic teaching field, aviation and air transportation, there is the Southwest/JetBlue Airlines Effect that we love to discuss in seminars. Same issues, different venue.
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Author: Jack Kissinger
Date: 2007-08-09 14:41
Go here, Hank:
http://www.yamaha.com/
and "explore the world of Yamaha."
No autos yet, but (of course) motorcycles. Also ATV's, snowmobiles, golf carts, etc.
Strings you ask? Certainly -- both acoustic and electric -- their electric "silent strings." (I think that silent violins in my high school orchestra would have been, for the most part, an improvement. )
And don't forget their pianos.
Best regards,
jnk
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Author: Hank Lehrer
Date: 2007-08-09 15:02
Hi Jack,
I forgot that my computer musical keyboard is a Yamaha E203 with MIDI output to Finale. A little over $100 and it is perfect for my needs and I can stand it up in a closet when not needed.
Do you think Yamaha drivers, irons, and putters would be any good? Golfers are always looking for the magic club (much like clarinetists with GAS).
HRL
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Author: pelo_ensortijado
Date: 2007-08-09 15:23
and not to forget the guitars, basses, drums, and other equipment for "rock/pop" musicians! wires, boxes, speakers, etc!
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The Clarinet Pages
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